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For many of the paintings here I used chopsticks or branches and so forth rather than paintbrushes, in order to generate less control and not get caught up in brush-handling intricacies. Similarly, many of the paintings don't have an up or down, are not tied to a single perspective, and can thus be hung in any direction.

 

The number "214" refers to 214 Lafayette Street, and "319" to 319 Grand Street, where I held numerous events such as photo shoots and shoots for feature films and commercials. All material used for this series of paintings stems from these locations. These paintings are therefore byproducts of other activities, but these activities alone made their existence possible.



Events: Google, Samsung, Nike, Macy's, Absolut, Expedia; Veuve Clicquot, Johnnie Walker, Sony, Warby Parker, Carolina Herrera, Target, Roberto Cavalli and many more.



Film shoots and commercials: Law & Order, Person of Interest, Annie, Forever, Power, Nespresso, Nintendo, Esquire, Dwell, Bloomingdales and many more. 214 lafayette

 

All paintings here are done on the fly, unpremeditated in regard to their form or the names of corporations used; whatever comes to my mind and fits the overall puzzle will be incorporated, which constitutes an enjoyable process.



For many of the paintings here I used chopsticks or branches and so forth rather than paintbrushes, in order to generate less control and not get caught up in brush-handling intricacies. Similarly, many of the paintings don't have an up or down, are not tied to a single perspective, and can thus be hung in any direction.

 

The paintings here employ an "ornamental" approach to painting, meaning "beautiful and harmonious" brushstrokes. They also draw inspiration from the shapes and forms of circuitry and technical contraptions, as well as from the shapes of protruding insect parts. This confluence suggests in part that they are equally bizarre to an anthropocentric eye.



I am fascinated by what I'm calling "ornament," since so much that surrounds us seems decorative rather than useful or utilitarian. This "ornament" embellishes our daily lives, almost unavoidably. Perhaps it is analogous to the way in which we decorative humans are superfluous to the prions that are working away underneath it all.



Especially in the early paintings here I use artificial colors, that don't tend to occur in nature, to avoid mere documentary representation.
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